Dutch painting. Big collection

After almost two hundred years, in 1820, the royal art gallery was posted in this building - one of the best meetings of the Dutch painting of the XV-XVII centuries.

XVII century They call the "golden age of" Dutch painting (not to be confused with the Flemish "golden age", under which the work of artists of Flanders XV centuries is the so-called "Flemish primitivists").

All genres of this era of Dutch visual art are fully and diverse in the gallery: great portrait samples, landscapes, still lifes, historical canvases, finally, the main opening of Dutch masters is genre scenes, or scenes of everyday life.

It seems that there is not any significant artist of the Netherlands, whose creativity would not have been represented in the Hague Museum. Here and Portraitists Anton Wang Dyk and Jacob Wang Campen, and Master of Still Life Willem Wang Elst and Balthazar Van der Aste, famous landscape players: Hendrik Averkamp with his famous "Winter Landscape", Jan Wang Goyen and Salomon Wang Ryuisde, and, of course, brilliant masters Genre scene Herard Ter Burch, Peter de Hookh, Gerard Dow and others.

Among the many glorious names are allocated four most important for Dutch art. This is Yang walls, France Hals and the two greatest Dutch genius Rembrandt Wang Rhine and Johann Vermeer.
In that epoch, the Dutch artist often devoted his art to any one favorite genre. These are the walls and chals. All my life, these artists worked each in their field: the walls developed the genre scene, Hals reached senior skill in the portrait.

Now the work of these masters is considered classic in its genre. In the museum you can see the "laughing boy" of França Hals and "The old man sings - young sang" Yana Wall.
Neither Rembrandt nor Vermeer tied up her creativity with any one genre. Both of them, albeit with different intensity, worked in a wide variety of areas, from portrait to a landscape, and everywhere reached the peaks inaccessible, resolutely pulling out the Dutch painting from the narrow genre framework.

Rembrandt is generously presented in the museums of his homeland. A variety of her heritage reflects the Hague exposition. The museum exhibits three paintings by the artist: "Simeon, Praising Christ", "Anatomy's Lesson of the Doctor Tulp" and one of the last self-portraits of the Great Master.
Vermeer, on the contrary, left extremely few paintings. Museums owning one or two pictures of this mysterious painter can be counted on the fingers.

Only six of his masterpieces remained at the artist's homeland. Four of them are the largest collection of Vermeer in the world - stored in Rixmusee in Amsterdam. The two others are rightfully proud of Hague. This is the famous "type of Delft" - the native city of Vermeer and, perhaps, the most famous picture, which has become a "visiting card" Museum - "Girl with pearl gray" "LCA".
Collection of painting the Netherlands of the XVII century - the main wealth of the museum. However, the exposition is not limited to it: the Hague Gallery is proud of the creations of the artists of another "golden age" - Flemish. Here the works of the XV century masters are stored: "Mailing of Christ" Rogira Van der Waiden and the "male portrait" of Hans Memling.
Meeting Moritzhaus complements the art gallery of Prince Villem V. This is chronologically the first Art Museum of Holland. The exposition of it, collected by the Prince himself and reflecting his taste, is devoted to painting XVIII century.

Moritzhaus is open from Tuesday to Saturday from 10 to 17 hours. On Sunday and weekends - from 11 to 17 hours. Weekend - Monday. Ticket price 12.50 NLG. Children from 7 to 18 years - 6.50 NLG.

The Villem Villa Gallery is open daily from 11 to 16 hours. Weekend - Monday. Ticket cost 2.50 NLG. Children from 7 to 18 years old - 1.50 NLG. Upon presentation of the ticket to Moritzhouse, the entrance to the Villem Ving Gallery V is free.

The history of any country finds its expression in art, and is especially indicative of this pattern on the example of painting. In particular, on the example of the painting of the Netherlands who survived the revolution, which greatly influenced the further fate of the once unified state. As a result of the revolution in the XVII century The Netherlands shared into two parts: in Holland and Flanders (the territory of modern Belgium), which remained under the rule of Spain.

Historical their development went different ways., as well as cultural. So, it became possible to divide the once overall concept of the Netherlands painting on Dutch and Flemish.

Dutch painting

The culture of the Netherlands of the XVII century is the living personification of the celebration of the state that has gained independence. Artists, covered by the taste of freedom, filled this time by Paphos of social, spiritual updates and first paid close attention to the surrounding environment - Nature, human image.Dutch genranists are inspired ordness, small everyday episodes, What becomes one of the characteristic features of Dutch realism.

In addition, the main customers of art became not only representatives of elite tops, but also merchants, peasants. This is partly and influenced the development of painting as an interior subject, and also contributed to an increase in public interest in the themes of everyday life.

The art of Holland XVII century is famous an extensive genre system of painting.

For example, among the landscape players were marinists, artists depicting species of plain places or forest ages were also masters of winter landscapes or paintings with moonlight; There were genreers specializing in the figures of peasants, burghers, on homemade scenes; There were masters of various types of still lifes - "breakfasts", "desserts", "shops".

Strictly focusing the painter on one subsystem of the genre contributed to the detail and improvement of all Dutch painting as a whole.

XVII century is truly truly golden era of dutch painting.

Artistic features

Light and thin color feeling Play in the pictures of Dutch artists a major role.

For example, as in the pictures Rembrandt -the artist who has become the personification of the whole era of the painting of Holland. Rembrandt was not afraid Realistic detailscontrary to the canons of the image of reality and because of contemporaries he gone up the "painter of ugliness."

Rembrandt first attached particular importance Game light, What allowed him to invent different from the rest letter Manera. According to Andre Felibiena "... Often he only bared wide brush strokes and put out the thick layers of paints one after another, not allowing himself a little labor to make more smooth and soft transitions from some tones to others."

"Return of the Prodigal Son", 1666-1669

Jan Vermeer(Vermeer / Delftsky Vermer ) - painter harmony and clarity of the world's vision. Famous for its strength figurative decisions and tendency to the image opoeted atmosphere of everydayness, He paid special attention colorful nuanceWhat made it possible to transmit the character of light-hearted space.

"Young woman with water jug", 1660-1662

Jacob van Ryutsdalwrote monumental landscapes in cold colorswho embodied his subtle feeling of dramatic and even gloomy variability of the world.

"Jewish cemetery", 1657

Albert Cape famous for an unusual look at Composition Landscape - he has it given, as a rule, with a low point of viewwhich allows you to transfer the extensity of the extended space.

"Cows on the river bank", 1650

France Hals (Gals / Hals) known outstanding genre and group portraitsattracting its own characterity.

"Tsygana", 1628-1630

Flemish Painting

In Flanders, the cultural background was noticeably different from Dutch. Feudal nobility and catholic churchstill played a major role in the life of the country, being the main customers of art . Therefore, the main types of work of Flemish painting remained paintings for castles, for urban homes of rich and majestic altar images for Catholic churches. Scenes of antique mythology and biblical stories, huge still lifes, portraits of eminent customers, image of lush festivals - the main genres of art of Flanders XVII century.

The Flemish art of Baroque (cheerful, material and sensual, lush in the abundance of forms) was found from the features of Italian and Spanish Renaissance in the refraction of their national flavor, especially manifested himself in painting.

Flemish liveliness is different monumental forms, dynamic rhythm and decorative style celebration. Especially brightly it was manifested in creativity Peter Paul Rubens,who became the central figure of Flemish painting.

His style is characterized by lush, bright image Large heavy shapes in the rapid motion. Rubens are characterized by warm rich paints, sharp contrasts of light and shadow, the overall spirit of the victorious holiday. Eugene Delacroix said:

"Its main quality, if he preferred to many others, - This is a shrill spirit, that is, a piercing life; Without this, no artist can be great ... Titian and Paolo Veronesethey seem to be terribly humble next to him. "

Everything inherent in his brushes and has become common features of the whole school.

"Union of Earth and Water", 1618

Art Jacob Yordans Attracts cheerfulness, monumentality, but at the same time sincerely, the love of Yordans to the image rich feasts (Repeated repetition of the plot of the "bean king" is confirmed. By the way, the bean king on the feasts voted any baked bob cake in her piece of cake) and the heroes of Christian legends as fantastic health of Flemaders embody the spirit of culture of Flanders of the XVII century.

"Holiday of the Bobov King", 1655

Antonis Wang Dyk. - Portraitist who created the type of aristocratic portrait, executed by the finest psychologism, expressed in attention to the dynamics of the silhouette and the overall expressivity of the types.

"Portrait of Charles I on the hunt", 1635

France Sneders Known by the image of the sensual nature of things represented by the colorfulness and monumentality of decorative still lifes, animalistic canvases.

"Fruit shop", 1620

Jan Bruegel Jr. - The grandson of the artist Peter Bruegel senior, who remembered by the skillful mixing of the landscape and household painting, landscape and allegorical mythological plots, as well as the talented transmission of the Panorama effect due to the high location of the horizon.

"Flora on the background of the landscape", 1600-1610

The main differences of the Dutch and Flemish painting

1. In Holland the main customer of art becomes working layer, in Flanders - the royal yard and know.
2. Plots. Different customers are asking for different things. Simple folks interested in paintings depicting the surrounding everyday among the nations Expected in demand antique and biblical plots, luxury demonstration.
3. Master of writing. Characteristic a feature of Dutch painting becomes a subtle feeling of lighting. From now on, this is the main tool that allows you to reflect the image of unsightly reality. In Flemish painting, the central position occupycharacteristic Baroque means of artistic expressiveness - forms, brilliant flavor, abundance and luxury.

The end of the era of the Dutch and Flemish painting can be called similar - under the influence of the influence of French tastes and the views and Dutch, and Flemish national consciousness gradually weaken, and therefore the concept of Flemish and Dutch painting becomes the historical past.

The events of the XVII century in Holland and Flanders presented the world of outstanding authors and a fresh look at the overall development of the trends of world painting.

Sources:

1. Small art history. Western European art XVII.

2. Flemish and Dutch art of the XVII century. Like two poles of the month of interest of the day // banauka.ru/6067.html.

3. The era of the Renaissance in the Netherlands // http://m.smallbay.ru/article/lar_renaiss_niderland.html.

Dutch painting, in fine art

Dutch painting, its occurrence and initial time to such an extent merge with the first stages of the development of Flemish painting, that the newest historians of art consider the one and the other all the time until the end of the XVI century. Inseparable, under one common name "Netherlands School".

Both of them, making up a branch of the Rhine branch of it. Painting, the main representatives of which are Wilhelm Cologne and Stefan Lochner, consider the Van Eykov brothers with their own experts; Both go to one direction for a long time, weighing the same ideals, they pursue the same tasks, develop the same technique, so the artists of Holland do not differ from their flank and Brabant counterparts.

It continues at all times of rule over the country first of Burgundy, and then the Austrian house - until the cruel revolution is broken out, ending with the full celebration of the Dutch people over the oppressing Spaniards. From this era, each of the two branches of the Netherlands art begins to move separately, although sometimes it happens to come into a very close contact between sobody.

Dutch painting at once takes the original, quite national character and quickly reaches a bright and abundant heyday. The reasons for this phenomenon like which is hardly extended throughout the history of art, lies in topographic, religious, political and social circumstances.

In this "lowland country" (HOL LAND), consisting of a bog, islands and peninsulas constantly being arranged by the sea and threatened by its raids, the population, only overthrow it with itself a foreign yoke, had to create Syzno all, starting with the physical conditions of the soil and Ending conditions moral and intellectual, because everything was destroyed by the precedingment of the struggle for independence. Thanks to its enterprise, practical meaning and persistent work, the Dutch managed to turn the swamps into fruitless Niva and luxurious suggestions, to win from the sea. Extensive land spaces, acquire material well-being and external political importance. The achievement of these results contributed a lot to the federal-republican form of government and the principle of freedom of thought and religious beliefs improved in the country.

As if miraculously, everywhere, in all areas of human labor, suddenly hot activity in a new, peculiar, purely folk spirit, by the way and in the field of art. From the sectors of the latter on the soil of Holland, it was contemplated predominantly one - painting, which took here in the works of many more or less talented artists, which appeared almost simultaneously, the direction is very versatile and at the same time completely different from the direction of art in other countries. The main feature characterizing these artists is the love of nature, the desire to reproduce it in all its simplicity and truth, without the slightest gloves, without summing up under any conditions of the prejudice ideal. The second distinctive feature of the Gol. Painters make up a subtle feeling of color and an understanding of how strong, the charming impression can be produced, in addition to the content of the picture, is just true and the powerful transmission of colorful relations caused by the action of light rays, proximity or range of distances.

At the best representatives of Dutch painting, this feeling of paints and blacks are developed to such an extent that the light with its innumerable and diverse nuances plays in the picture, one can say, the role of the main acting person and reports the high interest of the insignificant plot, the most reputable forms and images. Then it should be noted that most of the Gol. Artists are not started in distortion for the material for their creativity, but is content with what finds around them, in the native nature and in the life of their people. Typical features of any distinguished compatriots, physiognomy of simple Dutch and Dutch, noisy fun in common holidays, peasant porcisses, scenes of rustic life or intimate life of citizens, native dunes, priests and unbarrous plains intersectable by canals, herds, grazing on fat meadows, huts, We arrived at the edges of the beech or oak groves, the village on the banks of the rivers, lakes and articles, cities with their clean houses, lifting bridges and high spiers of churches and town hall, harbor, cluttered by ships filled with silver or golden pairs of the sky - all this, under the Dutch brush Masters, imbued with love for the Fatherland and National Pride, turns into pictures, full air, light and attractiveness.

Even in cases where other of these masters resort to the topics of the Bible, ancient history and mythology, then, without taking care of the observance of archaeological loyalty, they carry the action on Wednesday of the Dutch, surround it with a Dutch environment. True, next to the crowded crowd of such patriot artists, the phalanx of other painters seeking inspiration outside the Fatherland, in the classic country of art, Italy; However, in their work, they break the features that are pronounced their nationality.

Finally, as a feature of Dutch painters, you can point out their renunciation of artistic traditions. In vain, it would be necessary to look for the strict continuity of the well-known aesthetic principles and technical rules not only in the sense of academic style, but in the sense of the learners of the character of their teachers: with the exception, perhaps, alone, Rembrandt's students, more or less closely following their footsteps The brilliant mentor, almost all the painters of Holland, barely only passed their student years, and sometimes already during these years, began to work in their own way, according to the one where their individual inclination was involved and what the direct observation of nature was taught.

Therefore, Dutch artists cannot be distributed to schools, just as we do about artists of Italy or Spain; It is difficult to even draw up some of them strictly defined groups, and the most expression "Dutch School of Painting", which has entered into universal use, must be taken only in the conditional sense, as a denoting set of tribal masters, but not a valid school. Meanwhile, in all the main cities of Holland, organized societies of artists who seemed to have had to influence the message of their activities of one general direction. However, such societies that carried the name of the guilds of St. Luke, if we promoted this, then in a very moderate degree. These were not an academy, the keeper of famous artistic traditions, but free corporations, similar to other handicraft and industrial guilds, are not much different from them with respect to the device and those who had the goal of mutual support of their members, the protection of their rights, care for their old age, the care of their fate Widow and orphans.

Any local painter who satisfy the requirements of moral cencing was taken to the guild on a preliminary certificate in his abilities and knowledge or on the basis of the fame acquired by him; The visiting artists were allowed in the guild as temporary members for their stay in this city. Believes belonging to the guild to discuss under the chairmanship of the deans of their shared affairs or for mutual exchange of thoughts; But in these meetings there was nothing, which would be like a preaching of a certain artistic direction and would have beaten to the triggering of the originality of any of the members.

The specified features of Dutch painting are noticeable even in its initial time - at the time when it developed inseparably with the Flemish school. By calling her, as well as this last, was then mainly the decoration of churches with religious paintings, palaces, town hall and noble homes - portraits of governmental and aristocrats. Unfortunately, the works of primitive Dutch painters reached us only in very limited quantities, since most of them died in that vague, when the reformation devastated Catholic temples, abolished monasteries and abbey, incited "Icons" (beeldstormers) to destroy the picturesque sculptural sacred Images, and the popular uprising destroyed portraits of tyranov hated by it everywhere. Many of the artists preceding the revolutions, we only know by name; Others have the opportunity to judge only one-two samples of their work. So, relative to the oldest of the Dutch painters, Alberta Wang Ouvateter, there are no positive data, except for the information that he was a contemporary Wang Eykov and worked in Harlem; It does not exist reliable paintings. His student of his Garyten Van Sint-Yang is known only by two tripty shutters stored in the Vienna Gallery ("St. Coffin" and "Legend of Bones of St. John"), written by him for the Harlem Cathedral. The fog, clouding from us the initial era of the school, begins to dissipate with the appearance on the scene of the Dirog of Boauts, called a haircut († 1475), originally from Harlem, but who worked in Leuven and because of many to the Flemish school (the best works are two pictures " The wrong court of Emperor Ocetona is located in the Brussels Museum), as well as Cornelis Engelbrechts (1468-1553), whose main merit is that he was a teacher of the famous Lutensky Lutensky (1494-1533). This last, artist versatile, hardworking and high-level, knew how no one before him, to reproduce everything that came across to his eyes, and therefore can be considered a real father of the Netherlands genre, although he had to write predominantly religious paintings and portraits. In the works of his contemporary Yana Mostart (about 1470-1556), the desire for naturalism is connected with a shade of gothic legend, the heat of religious feeling with the care of external elegance.

In addition to these outstanding masters, for the initial era of Dutch art deserve to be mentioned: Hieronimus Wang Aksen, nicknamed by Jerome De Bosch (approx. 1462-1516), with its complex, intricate and other times extremely strange compositions posted the beginning of satirical household painting; Yang Mandein († 1520), famous in Harlem with its images of hellish and jester scenes; Peter Artes († 1516), called for his high height of "Long Peter" (Lange Pier), David Ioris (1501-56), a skilled painter on the glass, fascinated by the anabaptic womb and imagined himself a prophet David and the Son of God, Jacob Welts (1469 ? - 1535?), Jacob Cornenegen (1480? - Later 1533) and his son Dirk Jacobs (two pictures of the latter, depicting rifle societies, are available in the Hermitage).

About half the XVI table. In the medium of the Netherlands painters there is a desire to get rid of the shortcomings of domestic art - its gothic angularity and dryness - the study of Italian artists of the Renaissance and the connection of their manners with the best traditions of their own school. This aspiration is already looking at the works of the aforementioned Mostart; But the main distributor of the new movement should be considered Yang Schorel (1495-1562), who lived in Italy and after the school, then in Utrecht, from which a number of artists infected with the desire to deal with Dutch Rafael and Michelangelo came out. According to his footsteps, Martin Van Van, nicknamed Gamskerki (1498-1574), Henrik Golcyus (1558-1616), Peter Montford, Proble. Blockproof (1532-83), Cornelis. Harlem (1562-1638) and others already belonging to the next period of the school, what, for example, Abraham Blumart (1564-1651), Gerard Gontlesk (1592-1662), went for the Alps to penetrate the perfections of the corneses of Italian painting, but fell For the most part, under the influence of representatives of the decline of this painting started at that time, and returned to the Mañaryist Máris, imagining that the whole of the art is to carry the muscles, in the stripping of the angles and the fracture conditional colors.

However, the people's passion for the Italians, often sacrificed in the transitional era of Dutch painting to the extreme, brought a kind of benefit, as it made the best, more scientist drawing into this painting and decrease more freely and boldly dispose of the composition. Together with the Stagniderland tradition and unlimited love for nature, Italianism was made by one of the elements, of which the original, highly developed art of the blooming era. The offensive of this era, as we have already said, should be dedicated to the beginning of the XVII Art., When Holland, won independence, healed new life. The sharp transformation of the oppressed and poor country in a politically important, well-established and rich state union was accompanied by an equally sharp coup in its art.

From all sides, almost at least, there are wonderful artists who caused the rise of the National Spirit and developing in society the need for their work in society. New - Delft, Utrecht, Dortrecht, Hague, Amsterdam, etc. are added to the initial artistic centers, Garleos and Leiden. Everywhere, the old tasks of painting are developed in a new way under the influence of the changed requirements and views, and its new industries flourish, the rigids of which were barely Notes in the previously preceding.

Reformation expelled religious paintings from churches; There was no need to decorate the palaces and the necessary chambers with images of ancient gods and heroes, and therefore historical painting, satisfying the tastes of the rich bourgeoisie, dropped idealism and turned to the exact reproduction of reality: the long-lasting events she began to interpret how the events of the day that took place in Holland and in Features engaged in a portrait, perpetuating the features of the people of that time in it, then in single figures, in the extensive, multifiant compositions depicting small-scale societies (Schutterstuke), who played such a prominent role in the fight for the liberation of the country, - the rules of its charitable establishments , shop marriage and members of various corporations.

If we decided to talk about all the gifted portraits of the blooming era of Dutch art, then one list of their names with an indication of their best work would take a lot of lines; Therefore, we are limited to mention only about those artists who are especially issued from the general range. Such: Michil Mireview (1567-1641), his student Paulus Morels (1571-1638), Thomas de Caerizer (1596-1667) Yang Van Rawesein (1572? - 1657), the predecessors of the three greatest portrait of the Holland - Clavius \u200b\u200bof Rembrandt Rembrandt Wang Raina ( 1606-69), an unmatched draftsman who had amazing art modeling the figures in the light, but a little cold in character and flavor of the Bartolomeyushus van der Gelsta (1611 or 1612-70) and the figuing of his brush of the Senior Goloss (1581-1666). Of these, the name of Rembrandt's name shines especially brightly in history, first who used honors from their contemporaries, then they are forgotten, little appreciated by offspring and only in the current century erected throughout justice to the degree of world genius.

In his characteristic artistic personality, they focus on focus, all the best qualities of Dutch painting and its influence affected all its birth - in the portrait, historical paintings, household scenes and landscape. Between the students and followers of Rembrandt acquired the greatest fame: Ferdinand Pain (1616-80), Giatert Flink (1615-60), Herbrand Wang Den Ecut (1621-74), Nicholas MAS (1632-93), Art De Helder (1645-1727 ), Jacob Backer (1608 or 1609-51), Jan Victors (1621-74), Karel Fabrichius (ok. 1620-54), Salomon and Philips Koning (1609-56, 1619-88), Peter de Gbebe, Villem de Porter († Later 1645), Gerard Dow (1613-75) and Samuel Van Gogstraten (1626-78). In addition to these artists, the list of best portraits and historical painters of the period under consideration to name Yana Livenza (1607-30), Comrade Rembrandt by study at P. Lastman, Abrahama Van Tempel (1622-72) and Peter Nogon (1612-91), Worked, apparently under the influence of in. Galsta, Heohannes Impaid, Impaid Johannes (1597-1662), Yana and Jacob de Braév († 1664, † 1697), Cornelis Wang Ceileylene (1594-1664) and Nicolas de Gelta Slakada (1614-69). Household painting, the first experiments of which were still in the old Netherlands school, found themselves in the XVII century. Especially grateful soil in Protestant, free, bourgeois, satisfied with Holland.

Small pictures, inesentially representing the morals and life of different classes of local society, seemed to sufficient people more enforceable than large works of serious painting, and on a par with landscapes - more handy for decorating cozy private dwellings. The whole hordee artists satisfy the requirement for such pictures, without thinking for a long time over the choice for them, but in conscientiously reproducing everything that does not actually show the love of his own, native, then good-natured humor, accurately describing the positions and faces and face Sophisticated in the skill of technology. Then someone occupy a common life, the scenes of peasant happiness and grief, a booze in zucchini and harchers, gathering in front of roadside hotels, rural holidays, games and skating on ice frozen rivers and canals, etc., others take the content for their works From the more elegant circle - they write elegant ladies in their intimate atmosphere, leaving for them the cavaliers, household owners who give orders to the maids, salon exercises in music and singing, centes of golden youth in pleasure houses, etc. In the long row of the artists of the first category first Adrian and Izac in. Ostay (1610-85, 1621-49), Adrian Browver (1605 or 1606-38), Jan Stan (about 1626-79), Cornelis Bega (1620-64), Richard Blanbürg (1650-1702), P. V. LAR, nicknamed in Italy Bambecio (1590-1658), Cornelis Duzart (1660-1704) Egbert Van der Bulch (1621-64), Cornelis Drochslot (1586-1666), Egbert in. Gamskerk (1610-80), Henrik Rockes, called Zorg (1621-82), Clas Molyar (earlier than 1630-76), Yang Minse Molyar (about 1610-68), Cornelis Saflevlen (1606-81) and Nos. Dr. From an equally significant number of painters that reproduced by life of the middle and higher, in general, sufficient, class, enjoy the fame of Gerard Terborh (1617-81), Gerard Dow (1613-75), Gabriel Metsu (1630-67), Peter de Gogh ( 1630-66), Kaspar Nesser (1639-84), France in. Miris Senior (1635-81), Eglon Van der Nar (1643-1703), Gottfried Schalken (1643-1706), Yang Van der Mayor Delft (1632-73), Johannes Victor (1650-93), Quiring Brequal AP († 1668 ). Jacob OXTERVELT († 1670), Dirk Gals (1589-1656), Anthony and Parametes Parameysa (1601-73, 1607-38) and others. To the category of genre, you can rank artists who wrote scenes of military life, the idleness of soldiers in the guard, campgrounds , cavalry clashes and entire battles, horses amaway, as well as sprinkled with battle scenes scenes of falcon and dog hunting. The chief representative of this industry painting is the famous and extraordinarily prolific Philips of Hovverman (1619-68). In addition to him, her brother of this master, Peter (1623-82), Yang Asselin (1610-52), who will soon meet in a series of landscape players, the aforementioned palamesa, Jacob Icek (1600 - later than 1660), Henrik Versheuring (1627- 90), Dirk Stop (1610-80), Dirk MAC (1656-1717), etc. In many of these artists, the landscape plays the same important role as human figures; But in parallel with them, the mass of the painters, putting him by the main thing or an exceptional task.

In general, the Dutch holders belong to the inalienable right to be proud of the fact that their fatherland is homeland not only the newest genre, but also the landscape in the sense, as it is understood in our days. In fact, in other countries, for example. In Italy, the arts, art was not very interested in inanimate nature, did not find a kind of life, nor special beauty in it: the painter introduced a landscape in his paintings only as a side element as a scenery, among which the episodes of human drama or comedy are played, and therefore subordinate to its conditions Scenes, coming up with the pictorial lines favorable lines and stains for it, but not copying nature, not penetrating the impression by it.

In the same way, he "composed" by nature and in those rare cases when he tried to write a purely landscape picture. The Dutch was the first to comprehend that even in an inanimate nature breathes his life, everything is attractive, everything is capable of causing the thought and excite the movement of the heart. And it was quite natural, because the Dutch, so to speak, created their hands around them with their own hands, treated and admired her how her father values \u200b\u200band admire his own brainchild. In addition, this nature, despite the modesty of its forms and paints, represented such colorars as there were the Dutch, abundant material for the development of lighting motifs and an air perspective due to the climatic conditions of the country - its impregnated with steam air, mitigating the outlines of objects producing gradation of the tones on various The plans and covering the distance of a silver or gold mist chymo, as well as the changeability of the species caused by the time of the year, the hour of the day and the state of the weather.

Among the landscape players of the blooming period of the Gol. Schools that were interpreted by their domestic nature, especially respected by: Yang. Goyen (1595-1656), who, together with Ezaias Van de Veld (approx. 1590-1630) and Peter Molen Stars. (1595-1661), considered the founder of the Gol. landscape; Then the student of this master, Salomon in. Ryuzdal († 1623), Simon de Vlieger (1601-59), Yang Weinants (approx. 1600 - later than 1679), amateur effects of better lighting art in. D. Nar (1603-77), Poetic Jacob in. Ryuzdal (1628 or 1629-82), Meert Gobbema (1638-1709) and Cornelis Decker († 1678).

Among the Dutch, there were also quite a few landscape players who were stuck in the journey and reproducing the motives of alien nature, which, however, did not prevent them from preserving them in their painting. Albert in. Everdingen (1621-75) depicted the types of Norway; Jan Bot (1610-52), Dirk in. Bergen († Later 1690) and Jan Lingelbach (1623-74) - Italy; Jan in. d. Mayor Jr. (1656-1705), Herman Sakes (1610-85) and Jan Griffiff (1656-1720) - Rhine; Jan Gakkart (1629-99?) - Germany and Switzerland; Cornelis Polenhenburg (1586-1667) and the group of his followers wrote landscapes to the motives of Italian nature, with the ruins of antique buildings, bathing nymphs and scenes of the imaginary Arcadia. In a special discharge, the masters can be distinguished, which in their paintings combined the landscape with the image of animals, giving advantage of the first, then the second or the intercourse of both parts with the same attention. Famous in a number of such painters of rural idyll - Paulus Potter (1625-54); In addition to him, adrian c are counted here. Velda (1635 or 1636-72), Albert Cape (1620-91), Gondius Abraham († 1692) and numerous artists who addressed the themes preferably or exclusively to Italy, what are the: Villem Romain († later 1693), Adam Peynaker (1622-73), Jan-Baptist Veniks (1621-60), Yang Asselin, Clas Bercher (1620-83), Karel Duzrden (1622-78), Thomas Wake (1616? -77) Frederic de Musheron (1633 or 1634 -86) and others. To the scenery closely adjoins paintingRichctic species, which Dutch artists began to engage as an independent industry in the industry only in half of the XVII century.

Some of those worked since then on this part were sophisticated in the image of urban streets and areas with their buildings; Such, between other, less significant, Johannes Bareresthane (1622-66), IB and Gerrit Verk-Gade (1630-93, 1638-98), Yang in. D. Gayden (1647-1712) and Jacob in. Yulft village (1627-88). Others, among which Peter Sanrenian († 1666), Dirk in. Dellen (1605-71), Emmanuel de Witte (1616 or 1617-92), wrote internal species of churches and palaces. The sea had much importance in the life of Holland, that her art could not treat him otherwise, as with the greatest attention. Many of her artists engaged in the landscape, genre and even a portrait, taking off at the time of their ordinary plots, were made by marinists, and if we were upgraded to list all the painters of the Dutch school, depicting a calm or racing sea, rocking ships, clogged by the ships of the Harbor, Sea battles, etc., it would have turned out to be a very long list, which would be included in the names of Ya. Goyena, S. de Wiliger, S. and Ya. Ryuisdalea, A. Cape and the others already mentioned in the previous lines. Limited on the same indication on those for whom the painting of marine species amounted to a specialty, we must call the Willem in. de Velte Senior (1611 or 1612-93), his famous son V. in. De Velda Jr. (1633-1707), Lyudolf Bucmaisena (1631-1708), Yana. De Kappell († 1679) and Julius Parcelis († later, 1634).

Finally, the realistic direction of the Dutch school was the reason for the fact that it was formed and developed a genus of painting, which in other schools was not cultivated as a special, independent industry, namely painting flowers, fruits, vegetables, livestock, kitchen accessories, dining area etc. - in the word, what is customary now called "dead nature" (Nature Morte, Stilleben). In this area between the goal. Artists of the flowering era acquired the greatest fame of Jan-Davids de Gem (1606-83), his son Cornelis (1631-95), Abraham Mignon (1640-79), Melchior de Gundecuiter (1636-95), Maria Osterweik (1630-93) , Villem in. Alsti (1626-83), Willem Ging (1594 - 1678), Calph Villem (1621 or 1622-93) and Yang Waniks (1640-1719).

The brilliant period of Dutch painting has long stretched - only one century. With the beginning of the XVIII century. It comes its decline, not because the coast of Zeerze cease to produce congenital talents, but because in Gol. Society more and more weakens national self-consciousness, the National Spirit evaporates and the French tastes and the views of the sprayed era of Louis XIV are evaporated. In art, this cultural turn is expressed by the oblivion of the artists of those major principles, which depended on the originality of the painters of the preceding generations, and the appeal to the aesthetic principles listed from the neighboring country.

Instead of a direct attitude towards nature, love for domestic and sincerity, the domination of biased theories, conventionity, imitation of Poussin, Lebré, CL. Lorrane and others. French school cables. The main distributor of this regrettable direction was settled in Amsterdam Flemandes Gerard de Lesshes (1641-1711), the artist is very capable and for its time educated, who had a huge influence on contemporaries and the nearest offspring as its manner pseudo-historical paintings and works by his pen, between which One - the "Great Painter Book" ('T Groot SchilderBoec) - for fifty years served as a code for young artists. The famous adrian in school has also contributed to the decline of the school. De Verff (1659-1722), whose enlightened painting with cold, as if cut out from ivory figures, with dim, powerless flavor seemed to be at the best of perfection. Between the followers of this artist, I enjoyed fame as historical painters Henrik. Limborg (1680-1758) and Philipp V.-Diq (1669-1729), called "Little V.-Dyanka."

From other painters of the era under consideration, endowed with undoubted giving, but infected with the spirit of time, should be celebrated Willem and France in. Mirisa Junior (1662-1747, 1689-1763), Nicholas Victor (1673-1746), Netzer Konstantin (1668-1722), Izaca de Musheron (1670-1744) and Karel de Mora (1656-1738). Cornelis Cornef (1697-1750), predominantly caricaturist, nicknamed Holland gave some glitter of the dying school. Gogard, Portreetist Jan Quinchard (1688-1772), Decorative-historical painter Jacob de Vit (1695-1754) and painters of the dead nature Yang in. Geijum (1682-1749) and Rachel flights (1664-1750).

A foreign effect on the twentieth years of the XIX century is alien to the twenties of the XIX century, while more or less reflect those modifications in it, which art was taken in France, starting with the pair of the time of the Sun king and ending with Pseudoclassicism David. When the style of the latter talked his age and everywhere in the west of Europe, instead of passionate, the ancient Greeks and the Romans were raised by a romantic desire, mastered both poetry and figurative arts, - Dutch, like the other

m peoples, turned the eyes to her old, and consequently to the glorious past of his painting.

The desire to inform her again the brilliance as she shone in the XVII century, began to animate the newest artists and returned them to the principles of old national masters - to strict observation of nature and inesential, sincere attitude towards the presenters. At the same time, they did not try to completely eliminate foreign influence, but, going to study in Paris or Düsseldorf and other art centers of Germany, exported home from there only acquaintance with the successes of modern technology.

Thanks to all this, the revived Dutch school has again received the original, pretty physiognomy and moves in our days along the way leading to further progress. For many of their newest leaders, she can safely oppose the best painters of the XIX century in other countries. Historical painting in the close value of the word is cultivated in it, as in the old days, very moderately and does not have outstanding representatives; But according to the part of the historic genre, Holland can be proud of several significant newest masters, what are: Jacob Square (1793-1861), Ari Lamme (r. 1812), Peter in. SKENDel (1806-70), David Blis (born 1821), Herman Ten-Kate (1822-1891) and who deserted Alma Tadema's highly awesome Lawrence in England (r. 1836). A trap genre, which also included in the circle of activity of these artists (with the exception of the Alma Tadema), can be indicated by a number of excellent painters, at the head of which Idef R. 1824) and Christoffel Bisshop (r. 1828); Besides them, you are worthy to be named Michil Verseg (1756-1843), Elkhanon Vervar (r. 1826), Teresa Schwartz (r. 1852) and Valley Mus (r. 1857).

Especially rich in the newest Dutch painting by landscape stakes, worried and worrying in a variety of birth, then with carefully ended, then with the wide techniques of impressionists, but loyal and poetic interpreters of their native nature. Andreas Schelfgoot (1787-1870), Bartain Kookkuk (1803-62), Johannes Wilders (1811-90), Willem Rulofs (p. 1822), Gendrich in. de Sanda-Bike Mesen (r. 1826), Anton Mauwe (1838-88), Jacob Maris (r. 1837), Vodwejak apol (r. 1850) and MN. Dr. straight heirs Ya. V. The village of Heyden and E. De Witte was the painters of promising species Yang Vergeiden (1778-1846), Bartolomeyus in. Kazy (1790-1888), Salomon Vervar (1813-76), Cornelis Springer (1817-91), Johannes BosBe (1817-91), Johannes Weissengruch (1822-1880) and others. Between the newest marinists of the Netherlands Palm Championship belongs to Iiog. Schotel (1787-1838), Ari player (r. 1809), Herman Kukkuk (1815-82) and Henry Mesca (p. 1831). Finally, in the painting of animals, the great art of Wurles Vershur (1812-74) and Johan Gus (p. 1832) were observed.

Cf. Van Eyden u. Van Der Willigen, "Geschiedenis der Vaderlandische Schilderkunst, Sedert de Helft des 18-de Eeuw" (4 volumes, 1866) A. Woltman U. K. WOERMANN, "GESCHICHTE DER MALEREI" (2nd and 3rd Toma, 1882-1883); Waagen, "Handbuch der Deutschen und Niderländischen Malerschulen" (1862); Bode, Studien Zur Geschichte Der Holländischen MaleRei (1883); Havard, "La Peinture Hollandaise" (1880); E. FroMentin, "Les Maîtres d'autrefois. Belgique, Hollande »(1876); A. Bredius, "Die Meisterwerke Des Rijksmuseum Zu Amsterdam" (1890); P. P. Semenov, "Etudes on the history of the Netherlands painting on the basis of its samples in St. Petersburg." (A special application to the magazine "Vestn. Elegant. Arts", 1885-90).

The Golden Age of Dutch Painting is one of the most outstanding epochs in the history of all world painting. The golden century of Dutch painting is considered XVII century. It was at this time that the most talented artists and painters worked out their immortal works. Their paintings are still considered unsurpassed masterpieces that are stored in the famous museums of the world and are considered an invaluable heritage.

At the beginning 17th century In the Netherlands, quite primitive art flourished, which was substantiated by the landlined tastes and preferences of rich and powerful people. As a result of political, geopolitical and religious changes, Dutch art sharply changed. If, before that, the artists tried to indulge in the Dutch burers, depicting their lives and life, devoid of any high and poetic language, and also worked for the Church, which ordered artists of a fairly primitive genre with long-bent plots, the beginning of the XVII century became a real breakthrough. In Holland, the domination of Protestants reigned, who practically stopped ordering paintings from artists on religious topics. Holland became independent of Spain and self-affirmed at a generalist phyuum. Artists from their usual earlier moved to the image of household scenes, portraits, landscapes, still lifes and so on. Here, in a new field, the artists of the golden century would seemed to be new breathing and the real genius of art began to appear.

Dutch artists of the 17th century introduced realism in painting. Stunning on the component, according to the realism, in depth and unusual paintings began to enjoy a colossal success. The demand for painting has increased dramatically. As a result, more and more new artists began to appear, which surprisingly rapidly developed the foundations of painting, developed new techniques, styles and genres. Some of the most famous artists of the golden century were:, Jan Vermeer, Cornelis Cornef, Mattias Stom, Peter Bruegel Senior, Esayas Van de Velda, France Hals, Andrian Bruver, Cornelis de Man, Antonis Wang Dyk and many others.

Pictures of Dutch painters

Cornelis de Man - Manufactory for the processing of whale fat

Cornelis Cost - Fun in Park

Lyudolf Bucheizen - Dock Ost-India Campaign in Amsterdam

Peter Breygel Senior - Alchemist Catastrophe

Rembrandt - Andris de Gref

Dutch painting originated in the first years of the 17th century. The Dutch School of Painting was an independent, great, independent school with unique and unique features and identity.
Holland until the 17th century did not stand out abundance of national artists. While this country was one state with Flanders, mostly in Flanders were intensively created and developed original scenic flows.
In Flanders, the outstanding painters Wang Eyk, Memling, Rogyr Van der Wayden, who were not like in Holland. Only individual bursts of genius in painting can be noted at the beginning of the 16th century, this is an artist and engraver Lutensky, who is a follower of the Bruges school. But Luca Leiden did not create any school. The same can be said about the painter of the rake of Boetse from Harlem, whose creations almost do not stand out against the background of the style and manners of the origins of the Flemish school, about artists Mostarte, River and Chemiskerka, which, despite all their importance, are not individual talents, their originality characterizing Country
By the end of the 16th century, when portraitists have already created a school, other artists began to appear and form. A large variety of talents leads to a variety of different directions and ways to develop painting. Rembrandt's direct predecessors appear - his teacher Jan Pace and Peter Lastman. It becomes more free and genre methods - historicity is not so obligatory as before. A special, deeply national and almost historical genre is created - group portraits designed for public spaces - urban councils, corporations, shops and communities.
It is only the beginning, the school itself is not yet. There are many talented artists, among them there are skillful masters, a few large painters: Morels, Yang Raweshein, Lastman, France Hals, Polenburg, Baths Schoten, Wang de Venne, Thomas de Caser, Honthorst, Cape Senior, Finally, Esayas Vel de Veld and Van Goyen - they were all born at the end of the 16th century.
In development dutch painting It was a critical moment. In case of unstable political equilibrium, everything depended only on the case. In Flanders, where a similar awakening was observed, on the contrary, confidence and stability was already felt, which was not yet in Holland. In Flanders, artists who have formed or were close to it.
Political and socio-historical conditions in this country were more favorable. There were serious reasons for Flanders to secondly become a great focus of art. For this, there were lack of two things: several years of peace and master who would be the creator of the school.
In 1609, the fate of Holland was solved, after the truce agreement (between Spain and the Netherlands) and the official recognition of the connected provinces immediately arrived. It is amazing how unexpectedly, and for what short term - no more than thirty years old - on a small space, on an ungrateful deserted soil, a wonderful pleiad of painters appeared in the harsh living conditions of life, and more than great painters.
They appeared immediately and everywhere: in Amsterdam, Dordrechte, Leiden, Delft, Utrecht, Rotterdam, Kharlem, even abroad - as it were from seeds that fell outside the field. The earliest - Yang Wang Goyen and Weinutants, who were born in vorber centuries. And then, in the interval from the beginning of the century to the end of his first third - Cape, Terbor, Brower, Rembrandt, Adrian Van Odete, Ferdinand Pain, Gerard Dow, Metsu, Venix, Wowerman, Bercher, Potter, Yang Walls, Jacob Rydal. Next, Peter de Heh, Hobbeme. The last of the Great - Van der Hayden and Adrian Van de Velda - in 1636 and 1637. Approximately these years can be considered the time of the first heyday of the Dutch school. It was necessary to create art for a nation.
Dutch painting, it was and could only be an expression of an appearance, loyal, accurate, similar portrait of Holland. The main elements of the Dutch Painting School were a portrait, landscape, household scenes. The Dutch school grows and works for a whole century.
The painters of Holland found plots and paints to meet any human inconsistencies and affection. The palette of the Dutch is quite worthy of their drawing, hence the perfect unity of their picturesque method. Any Dutch picture is easy to find out in appearance. It is small and features its powerful strict paints. This requires a great accuracy, a solid, deep concentration.
Exactly dutch painting Gives the most clear idea about this hidden and eternal process: to feel, think about and express. No in the light of the picture, more saturated, since the Dutch includes such a large content in such a small space. That is why everything accepts accurate, compressed and compacted here.
For a more complete presentation of Dutch painting, it would be necessary to consider in detail the elements of this flow, the features of the methods, the nature of the palette. The description of the main features of Dutch art allows you to distinguish this school from others and trace it for its origins.
An expressive way illustrating dutch paintingIs the picture of Adriana Van Ostay from the Amsterdam Museum "Atelier of the artist". This plot was one of the favorite for Dutch painters. We see a careful person, a little bitched, with a prepared palette, subtle, clean brushes and transparent oil. He writes in the twilight. His face is concentrated, the hand is careful.
Only, perhaps, these painters were more bold and cleaned more careless to laugh and enjoy life, which can be concluded from the preserved images.
The basis for the Dutch school of painting was laid by Jan Wang Goyen and Yang Van Weinant at the beginning of the 17th century, setting some laws of painting.